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News from the Feminist Caucus, by Anne Burke Congratulations to The News from the Feminist Caucus, by Anne Burke Congratulations to the finalists for the Pat Lowther Memorial Award and to all the poets and their publishers who entered the annual competition, as well as the 2014 judges. If you are in Toronto, please plan to join us on Friday, June 6, at 4 p.m. for the Open Reading and Business Meeting. Then on Saturday, June 7 4:15-5:15 p.m. for the panel Stories about the forgotten elders, our vulnerable elders – which prompted the panel topic, tentatively subtitled poetry and cautionary tales. This month, reviews of Nine Steps to the Door , by Maureen McCarthy, “Cold Surely Takes the Wood ”, by Tara Wohlberg; The New Blue Distance, Poems by Jeanette Lynes, Left Fields , by Jeanette Lynes; The M Word: Conversations about Motherhood , edited by Kerry Clare, Inheritance , by Kerry- Lee Powell, The L.M. Montgomery Reader , edited by Benjamin Lefebvre; Her Red Hair Rises With The Wings Of Insects, Poems , by Catherine Graham, and Once a murderer , by Zoe Landale. Unfortunately, Deirdre Dwyer's Going to the Eyestone and Eric Folsom's Icon Driven have just gone out of print. Review of Nine Steps to the Door , by Maureen McCarthy (North Vancouver: The Alfred Gustav Press, 2013) 18pp. paper Series Ten. The Alfred Gustav Press 429B Alder Street North Vancouver, BC V7L 1A9. The poet divides her strength between a branch and a twig, in order to wade into a stream. A room is depicted as old but like the heart it sleeps. A parrot ex cathedra. The nine steps occur in November. “’What do the eyes of others see?’” “’So what if it’s late, who cares’” July possess a “belly”. Insomnia speaks. A sister “buried in the back yard.” The wind calls, “’catch her, catch her’” A song is not for sale. Birds “scar the sky.” An endless story overcomes the afternoon. In an “Afterword”, the poet attempts perfection but realizes she can only try, because writing is intuitive, not revisionist. McCarthy has four books of poetry (Harbour Publishing). She contributed to a Mexican anthology of Canadian women writers. Review of “Cold Surely Takes the Wood”, by Tara Wohlberg (North Vancouver: The Alfred Gustav Press, 2013) 18 pp. paper Series Ten . This chapbook draws on “tattered, five-line” diaries by Leitta Mae Wohlberg (1905- 1998) who was the poet’s grandmother. The entries run from 10 February, 1934 to 2 December, 1966. The backdrop is comprised of the economic depression, a rural lifestyle, and the move West to Saskatchewan from her Ontario childhood. The CBC and Biblical Corinthian columns are juxtaposed. Without planned parenthood, women rely on fortune- telling. The King of Clydesdales resembles the crowning of the Prince of Wales. The death of Rudyard Kipling was proclaimed. The Duke of York replaced his brother King Edward VIII who abdicated the throne. The homesteaders move to town. The T.Eaton Company indicates the cost of living when blueprints cost only $2.50. The fashions advertised in print are compared with toxic hair permanents, war brides, church auxiliaries. Narcissus plays with ice water. Her hair was straight as the horizon. Eaton’s catalogue was attractive to post-war baby boomers. The refrigerator replaced the ice box. “Mounted” alludes to a strawberry social at Rideau Hall, “so patriotic”. Drugstore- coloured hair matches “The Coat” a Persian Lamb. In “Afterword”, the poet, a first-born grandchild, explains how she read fifty years about prairie life, a previously untold family story. “Perhaps our two generations share only the brutal geography, rather than a warm bond.” The Alfred Gustav Press was named after the founder’s father, a farmer and a great lover of winter reading. A subscription is available for $13 in total for three issues. Contact David Zieroth, [email protected]. Review of The New Blue Distance , Poems by Jeanette Lynes (Toronto: Wolsak & Wynn, 2009) 104 pp. paper. Much of this poetry is bedazzled by grief, in tones of irony, shock, and awe. Even the blue endpapers tucked into this book’s binding offers a visual display of muted distances. In “Passes”, a third-person cautionary tale, reflects young lovers reinventing themselves. The title is a double entendre, while the extended metaphor deals with chapters, illiteracy, giving without restraint, “until giving grew unsound.” The phenomenon of internet dating ironically focuses on its various stages, “Enamoured”, “Less Enamoured”, and “Not Enamoured in the Least”. A triolet is a poem or stanza of eight lines in which the first line is repeated as the fourth and seventh and the second line as the eighth with a rhyme scheme of ABaAabAB. The poet invokes, “We, the fleshy ones”, since consumption results in “love handles, abundant butts”, but “a fat girl could marry a prince”. The “soft rebels” indulge, “snow angels twinned in winter’s fold”. She reads “ourselves”, that is “To recite urns, / remember vows”. Their “new habitat” was rendered in off-white tones, which she subsequently hated. Her reinterpretation of a Hollywood film demonstrates her own development. She discusses anorexia in the context and voice of Simone Weil, who appears self-aware but, nevertheless, died from the disease. (See: also Sarah Klassen’s collection on Weil). Lynes explores divine agriculture and has “a harvest to tend.” Lesley Hornby (a British Super Model known professionally as “Twiggy”) was notoriously thin. The poet wishes there was a Nobel Prize for feet. Her mother’s inner world was coloured orange, “Truth is, this was a girl’s story”. “I knew everything wants / what I want”, including this “Requiem For a Beagle”. “Three things you can count on in this / life: endings, blood, voices to wreck / your dreams”. The lies abide, “she chirps / never better .” The poet embraces popular culture, Glenn Miller’s band, Wife of the cartoon character “Shrek”, Hockey Stars, such as Bobby Orr, and several others, as a device. On a special occasion, “This poem marks the only time / I took his side”, meaning her father’s. Velvet painting exudes a “Small Elegy”. In the second section she declares “My mother and I are a myth”, and “There are regions of mercy, this is not.” Birch trees become “white rifles, ruddy-barrelled.” She rejects writing in “that hothouse mannered style”, in favour of the “Backwoods”. Distances reflect “is long-distance farming long-distance love’s / logical outcome?” Her own Braveheart declaims, “ I’m sick of the Celts and all their pain ”. Dolly Parton appears during a tour of Rosslyn Chapel. Madonna is reborn on the side of a two-tiered bus. A quintet is a musical composition or movement for five instruments or voices. It also refers to a group or set of five. In “A Speculative Quintet”, the poet ponders: “The Folk”, “Posing”, “The Almighty”, “The True Meaning of Thunder”, and concludes with “Project Observation Tartan.” Her Beach Boy reunion is only one instance of “The Time-Bubble Theory”. “ the past is past ”. In the third section, blue-grass bands perform at Dawson Creek, the morning-after feels emptied. Poetics have a mind of them own. “This wanted to be a rock / poem but it’s a water poem”. She puns on “the climax”, associated with Regina. “You hear / the female’s yes yes yes , observe / how she agrees with everything,” The mark chooses you, each scar a story. She has a fetish for the west. She takes note of “all this light”, since “Sky expands and expands.” A curling rink is transformed into a granite abbey. However, “this page never betrays me.” A series of causes is listed, “language slips / farther from you, farther, further, how do you know”. The drift of conversation and salt lake accompanies gravity. “I am so local” but she believes in life on other planets. In the fourth section she explores “What Can Happen When You Love a Poet”. With Elizabeth Smart, then in time and space, London, Germany, Stockholm, San Francisco, New Zealand, Mexico, during the nineteen-thirties. Then she finds her poet, in London, Vancouver, at Pender Harbour, London and Ottawa, Cloch Na Ron during the nineteen- forties. This series concludes with London, in 1955, and an indeterminate “Later, Suffolk”. In the fifth section, her perspective shifts to “Tell It From The Rabbit’s Point of View”, starting with “I’m dead, speaking of Beatrix Potter to a class”, in 1997. In “Thirteen Poems For Beatrix Potter”, she speaks from the author’s heart and soul, compelling instances of scientific knowledge, social structure which impaired women’s genius, a family unit which reinforced patriarchy. The text presumes to be Potter’s diary, a record of her innermost thoughts, secrets, and repressed passion. Her beloved Norman Warne, publisher, for whom she longs but lost to death. Hill Top Farm which she purchased with her royalties and for which she became a sheep herder and entrepreneur. She did marry William Heelis but “That Miss Potter / is not so very far away.” The “Notes on the Poems” provide some of the sources for her epigraphs. Review of Left Fields , by Jeanette Lynes (Toronto: Wolsak & Wynn, 2003) 87 pp. paper. That which comes out of “left field” means oblique or on the periphery; the unexpected but powerful epiphanies of ecstatic experiences. Another level of meaning is “left” as in untilled or abandoned. The epitaph, from Alice Munro’s Lives of Girls and Women”, offers up the landscape, doomed shapes “like slightly opened fans, sometimes like harps.” The second, from All the Blood Tethers”, by Catherine Sasanov, couples the monotony of rural living, home “collapses in on itself.” In part I “Homeland, With Wreckage”, the questionable act of “Poetry?” makes sense of otherwise inexplicable events, including a dark snake which consumes its live prey.
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